Playing By Ear: Esperanza Spalding

Esperanza Spalding (left) is a young jazz vocalist who just caught my ear. According to NPR Music: “There are many gifted singers in jazz today, and no shortage of accomplished acoustic bass players. But few jazz artists can be both. Esperanza Spalding’s new album, Esperanza, blends her soaring vocals and her deep bass lines. At 23, Spalding has already built an impressive resume: She earned a full scholarship to the Berklee College of Music in Boston, and graduated a year early to become the youngest faculty member in the school’s history, and she’s also played with jazz legends such as Patti Austin, Pat Metheny, and Herbie Hancock.”

Here’s how she describes her first encounter with the bass:

“One day I went into the high school, into the high school that I went into, and the bass was just — it’s kind of funny, it was kind of heavenly, you know?” she says. “I walk into this room, and it literally — it’s kind of below street level, and light was shining in, and the bass was just there with no case on it, because they just bought it. And I walked into the room and picked it up and just started playing.

“And at the same time, my music teacher came in and showed me basically what a blues form was, and I just kind of started making anything up,” she adds. “And pretty much from that moment, I said, ‘Wow, this is — in these five minutes, I’m enjoying this music more than I have the last 10 years on the violin.'”

Spalding says that the spontaneous connection she made that day remains a formative moment for her conception of jazz today.

“That’s like the vein of jazz,” she says. “It’s that ability to immediately be able to communicate with someone that you don’t know. And in those first five minutes of this instrument that was completely foreign to me, in a way I touched right upon that vein. I mean, I hit it, I hit that nerve. Now, after nine years, everything I’ve learned about jazz kind of all comes back to that first realization in that room.”

Letting Go of Sight

I’ve canoed on Lake Superior for almost as many years as I’ve been losing eyesight. I return year after year like a migrating loon to learn the other side of a slow, uncertain process that we could call “going blind.” After 35 years with the lake as my teacher, I know what lies on the other side. I call it letting go of sight. Read Big Water. See more about the Great Lakes.

Not This Pig

If there is an emerging genetic underclass, I could run for class president or class clown. Read more in Not This Pig (2003).

Media in Transition @ MiT

Disabled Americans today have to negotiate for the kinds of accommodations made for FDR, and the caveat “reasonable accommodation” is built into the law. President Franklin Roosevelt did not have to negotiate. He could summon vast resources of the federal government – money as well as brains – to accomplish the work of disability. And it was accomplished with such thoroughness and efficiency that its scale could be called the Accessibility-Industrial Complex had it been directed toward public accommodations and not solely the needs of a single man. Read FDR and the Hidden Work of Disability [MiT8 2013]

Shepard Fairey claimed that his posterization of a copyrighted AP news photo of Barack Obama was a transformative work protected by the fair use doctrine. In other words, it was a shape-shifter. I claim fair use, too, when I reproduce and transform copyrighted works into media formats that are accessible to me as a blind reader. Read Shape-Shifters in the Fair Use Lab [MiT6 2009]

The social engineers who created a system for licensing beggars in New York never imagined that a blind woman had culture or could make culture. She herself may not have imagined it, either. In the moment when Paul Strand photographed her surreptitiously on the street in 1916, he could not have expected that one day blind photographers would reverse the camera’s gaze. Read Curiosity & The Blind Photographer. [MiT5 2007]